The newly opened "Leap of Faith" is a parable of spiritual fraud, in the form of an ersatz preacher who's a cynical, preying charlatan. Ironically, though, the film is almost documentary-like in setting on celluloid another religious phenomenon that's very much for real: the jubilation of traditional African-American gospel music, a usually ghettoized genre bound to get its widest mainstream exposure in years through its prominent place in the picture.

Each boasted big stars, respected directors and huge marketing campaigns. Yet, in the case of "Toys," "Hoffa" and "Leap of Faith," something clearly went wrong on the way to the multiplex. The big disappointments of this Christmas season, the three films lost their studios millions of dollars and left a smattering of egg on the faces of all those involved.

Each boasted big stars, respected directors and huge marketing campaigns. Yet, in the case of "Toys," "Hoffa" and "Leap of Faith," something clearly went wrong on the way to the multiplex. The big disappointments of this Christmas season, the three films lost their studios millions of dollars and left a smattering of egg on the faces of all those involved.

The newly opened "Leap of Faith" is a parable of spiritual fraud, in the form of an ersatz preacher who's a cynical, preying charlatan. Ironically, though, the film is almost documentary-like in setting on celluloid another religious phenomenon that's very much for real: the jubilation of traditional African-American gospel music, a usually ghettoized genre bound to get its widest mainstream exposure in years through its prominent place in the picture.

To those with a fervent belief in the positive energy of cultural crossover, "Whiteboys" offers a stern test--if not a hesitant leap--of faith. The movie documents accurately the capacity of pop culture to make mongrels of its consumers. But it doesn't quite know (or want to know) what to make of it.